ADVANCED TYPOGRAPHY- Task 1: Exercises

23.9.2025-30.9.2025(week 1 - week 2)

FANN WONG JING EN｜0382237

Design Principles | Bachelor of Design (Honours) in Creative Media

GCD61004 Advanced Typography 

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TABLE OF CONTENT

     Lecture Note      MIB       Task       Feedback      Reflection      Further Reading           

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 LECTURE NOTE 

WEEK 1- Advanced Typography: The Eight Typographic Systems

In typography, “all design is based on a structural system.” According to Elam (2007), there are eight major typographic systems. 

8 major variations: 

1. Axial System
All elements are organized to the left or right of a single axis.
- Feature: Clean, orderly, often used in books and formal layouts.

fig1.1 axial system | from lecture typographic systems

2. Radial System
All elements are extended from a point of focus. 
- Feature: Strong emphasis on the center, suitable for exhibitions, event posters.

fig1.2 radial system | from lecture typographic systems

3. Dilatational System
All elements expand from a central point in a circular fashion.
- Feature: Dynamic, creates a sense of rotation or outward movement.

fig1.3 dilatational system | from lecture typographic systems

4. Random System
Elements appear to have no specific pattern or relationship.
- Feature: Breaks convention, experimental and avant-garde, often used in artistic contexts.

fig1.4 random system | from lecture typographic systems

5. Grid System
A system of vertical and horizontal divisions.
- Feature: Structured and consistent, widely used in magazines, websites, newspapers.

fig1.5 grid system | from lecture typographic systems

6. Modular System
A series of non-objective elements that are constructed in standardised units.
- Feature: Flexible, versatile, often used in information design or modern layouts.

fig1.6 modular system | from lecture typographic systems

7. Transitional System
An informal system of layered banding. 
- Feature: Rhythmic and fluid, balancing order and freedom.

fig1.7 transitional system | from lecture typographic systems

8. Bilateral System
All text is arranged symmetrically on a single axis. 
- Feature: Formal, balanced, ceremonial—commonly seen in invitations, religious or official design.

fig1.8 bilateral system | from lecture typographic systems

WEEK 2- Typographic Compositions

1. Principles of Design Composition

• Emphasis: Establish a hierarchy or visual focus.

• Isolation: To attract attention, separate parts.

• Repetition: Create coherence and rhythm across the layout.

• Symmetry/Asymmetry: The layout structure is balanced or contrasted.

• Alignment: Make sure everything is readable and in sequence.

• Perspective: Enhance visual flow and spatial depth.

Note: These abstract concepts are frequently simpler to apply to visuals, yet they transfer into grid, hierarchy, spacing, and alignment systems in typography.

fig 1.9 design composition | from lecture typographic composition 

2. The Rule of Thirds

A photography guide that creates focal regions by dividing the frame into 3x3 parts where the points connect.

In typography, grids or modular systems are more flexible and are rarely utilized as the primary structure.

Conclusion: The Rule of Thirds provides visual harmony, but it is imprecise for intricate typographic configurations.

fig 2.0 the rule of thirds  | from lecture typographic composition 

3. Typography System

Grid System: 

• Derived from Letterpress printing grids.

• Evolved through Swiss Modernism, led by: Josef Müller-Brockmann, Jan Tschichold and Max Bill

• Encourages order, modularity, and consistency.

• Still popular due to its adaptability and clarity.

Example: Grid divisions are used in magazine and internet layouts to preserve structure while permitting design flexibility.

fig 2.1 gird system  | from lecture typographic composition 

4. Other Systems / Models

(a) Environmental Grid

• Derived from real-world or architectural structures.

• Uses both curved and straight lines from an environment.

• Incorporates non-objective elements (shapes, textures).

• Creates contextual, site-related visual systems.

Example: Poster design inspired by a city’s map lines or building structure.

fig 2.2 environmental grid  | from lecture typographic composition 

(b) Form and Movement

• Built from the Grid System to introduce motion.

• Encourages dynamic flow of image, text, and color.

• Each page becomes a frame — together they form a visual rhythm, like animation.

Concept: Typography is dynamic; movement and engagement are produced through repetition and page progression.

WEEK 3 - Context & Creativity

Handwriting is the starting point for typeface and typography design.

Early mechanical printing typefaces were essentially imitations of the forms and spacing of handwritten characters.

The shapes of letters were influenced by the tools and materials used, such as reeds, bone pens, quills, fountain pens, clay tablets, and paper.

1. Emergence of Early Writing Systems

• Cuneiform (c. 3400–3000 BCE)

Originating in Mesopotamia, it is humanity's earliest known writing system. Cuneiform symbols were carved into clay tablets using reed styluses.

• Hieroglyphics (c. 2613–2160 BCE)

Ancient Egyptian writing combined images, symbols, and sounds.

It served three purposes:

1. Ideograms – Represented the meaning of the image itself

2. Determinatives – Helped clarify whether the preceding character was phonetic or categorical

3. Phonograms – Indicated specific pronunciations

• Phoenician Alphabet (c. 1050 BCE)

The world's first phonetic alphabet system, comprising 22 symbols representing sounds.

2. Greek and Roman Influence

• Greek Alphabet (c. 5th century BCE)

Added vowels to the Phoenician alphabet and introduced "plough-like writing" (alternating text direction).

• Roman Letters (c. 4th century AD)

Shapes became rounder and more structured, forming the basis for the modern Latin alphabet.

• Charlemagne (8th century)

Standardized the writing system, developing Carolingian Minuscule—the prototype for modern lowercase letters.

• Blackletter (12th–15th centuries)

Popular in northern Europe, characterized by dense vertical strokes, commonly used in illuminated manuscripts and early printing.

• Renaissance (15th century)

Revived pursuit of classical aesthetics led to the emergence of "Humanist Script," laying the groundwork for modern typefaces.

fig 2.3 greek & roman influence  | from lecture context & creativity

3. Development of Asian and Eastern Scripts

• Indus Valley Script (c. 3200–2000 BCE)

One of the earliest symbolic systems, still not fully deciphered.

• Brahmi Script (c. 450–350 BCE)

India's first systematic writing system, the origin of most scripts in South and Southeast Asia.

• Pallava & Pra-Nagari (c. 4th–7th centuries)

Spread to Southeast Asia through trade and religion, becoming the foundation for many regional scripts.

• Kawi Script (c. 8th–10th centuries)

Derived from Indian scripts, it originated various regional scripts in Indonesia and the Philippines (e.g., Rejang, Bugis, Batak).

• Jawi Script (c. 13th century)

Adapted from the Arabic alphabet for writing Malay, introduced alongside the spread of Islam.

Early uses included literary and religious texts like the Hikayat.

fig 2.4 development of Asia & Eastern script  | from lecture context & creativity

4. Printing and Modernization

• Movable Type (11th–14th centuries)

Originating in China, later developed into bronze movable type in Korea (e.g., Hangul foundries).

Preceded Gutenberg's European printing by decades.

• The Diamond Sutra (868 AD)

The world's earliest woodblock-printed scroll and the first illustrated printed work.

5. Digital Age and Localized Design

• With digital technology's advancement, designers and programmers began prioritizing the preservation and digitization of local cultural scripts.

• Muthu Nedumaran (Malaysia) founded Murasu.com to develop local text encoding systems for mobile platforms.

• Huruf (Malaysia) specializes in digitizing local handwritten and wall-painted scripts.

• Indian Type Foundry (India) promotes the development of indigenous Indian typefaces.

• The trend of "Multi-script Typefaces" enables local scripts and Latin alphabets to coexist within the same design system.

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MODULE INFORMATION BRIEF (MIB)

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 TASK 1 - EXERCISE 1 

The exercise task is to be done using Adobe InDesign only.

Size 200 x 200 mm. In addition to black, you can use one other colour. Graphical elements (line, dot, etc.) can be used but limitedly.

The 8 systems mentioned above (lecture 1)  are to be explored using the following content:

The Design School, 

Taylor's University

Russian Constructivism and Graphic Design

Open Public Lectures

June 24, 2021

Lew Pik Svonn, 9AM-10AM

Ezrena Mohd., 10AM-11AM

Suzy Sulaiman, 11AM-12PM

June 25, 2021

Lim Whay Yin, 9AM-10AM

Fahmi Reza, 10AM-11AM

Manish Acharia, 11AM-12PM

Lecture Theater 12

Research

fig 1.1.1 research

During the research phase, I primarily referenced the design languages of Russian Constructivism and the Bauhaus. By analyzing representative Constructivist works by El Lissitzky, Rodchenko, and others, I observed their emphasis on geometric structures, strong directional lines, diagonal compositions, and a high-contrast visual system using red, black, and white. These characteristics convey power, order, and a revolutionary spirit, forming the visual foundation for my subsequent creation of eight typeface systems.

Process

1.Axial

fig 1.1.2 axial composition (week 1- 24/09/2025)

In the axial system, I employ the diagonal as the strong visual axis and position text along a tilted compositional axis to achieve a forceful sense of direction. Three-color blocks of red, black, and white evoke the energy and tension of Russian Constructivism. The main title cuts across the composition at a diagonal, creating dynamic balance as it draws the eye from lower left to upper right.

2.Radial

fig 1.1.3 radial composition (week 1- 24/09/2025)

On the radial system, the text I placed on arcs so that it could develop on radial lines. The red semicircular area is for the diffusion of energy, having text bending in a rhythmic eye movement around the center, depicting Constructivist mechanical order and accuracy. Overall composition emphasizes the visual momentum of force coming from the center.

3.Dilatational

fig 1.1.4 dilatational composition (week 1- 24/09/2025)

This piece employs a circular structure as its foundation, with text flowing outward from the center in an arc of rotation and movement to provide a rhythm of turn and circulation visually. Font size and degree of curve provide tension and breathing space. Red-and-black coloring maintains quintessential visual vocabulary of Russian Constructivism while preserving dynamism and equilibrium.

4.Random

fig 1.1.5 random composition (week 1- 24/09/2025)

Under the Random System, I wanted to overthrow rules and order by having unrestricted overlapping, rotation, and entwining of text. The collision between unlike font sizes and directions creates a disordered but rhythmic visual beat, adhering to the Constructivist spirit of "motion and energy." Red and black boxes introduce tension and depth, with an intense experimental atmosphere.

5.Grid

fig 1.1.7 grid composition (week 1- 24/09/2025)

The grid system organizes textual information through precise alignment lines and controlled white space, creating a rational hierarchy. Headlines and timestamps are positioned based on horizontal and vertical grid divides, adopting a natural and continuous visual reading path. Robust typefaces and contrasting color highlight stability, symbolizing Constructivist reason and contemporaneity.

6.Modular

fig 1.1.8 modular composition (week 1- 24/09/2025)

The modular system is based on repeating units. I separate blocks of text and letters into independent modules, and I position them according to a grid. Vertical text and horizontal text construct an orderly sense of form, possessing an aesthetic of rationality and mechanization. The formation is clean and rigid, being in keeping with Constructivism's emphasis on structure and function.

7.Transitional

fig 1.1.9 transitional composition (week 1- 24/09/2025)

The Transitional System connects headlines and body copy through curved paths, guiding readers through a fluid left-to-right experience controlled by arcs. Curves introduce dynamism and adaptability, counterbalancing the rigid geometric appearance historically associated with Constructivism. The overall impact records a smooth transition between structure and rhythm.

8.Bilateral

fig 1.2.0 bilateral composition (week 1- 24/09/2025)

The Bilateral System is a system centered on symmetrical text alignment on both sides. Large capital letters "R," "G," and "D" are enlarged as visual anchors, creating a balance composition. The central block of information maintains order and alignment, showing a formal and stable visual appearance.

Final Outcome

fig 1.2.1 final axial system (JPEG) (week 3- 07/10/2025)

fig 1.2.2 final modular system (JPEG) (week 3- 07/10/2025)

fig 1.2.3 final transitional system (JPEG) (week 3- 07/10/2025)

fig 1.2.4 final random system (JPEG) (week 3- 07/10/2025)

fig 1.2.5 final radial system (JPEG) (week 3- 07/10/2025)

fig 1.2.6 final grid system (JPEG) (week 3- 07/10/2025)

fig 1.2.7 final dilatation system (JPEG) (week 3- 07/10/2025)

fig 1.2.8 final bilateral system (JPEG) (week 3- 07/10/2025)

fig 1.2.9 final typographic system (PDF) (week 3- 07/10/2025)

fig 1.3.0 final typographic system -grid/baseline (PDF) (week 3- 07/10/2025)  

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TASK 1 - EXERCISES 2

- Type & Play : Part 1 -

        We were instructed to build a typeface that was influenced by natural features for this exercise . I chose to use the picture of a withering lotus since it symbolizes both delicateness and understated elegance. Since the dried stems naturally approximate letter shapes, I was drawn to the way they twist and curve. This made them an ideal topic for investigating organic typography.

Finding an Image

I looked at these reference images while doing my study. The third one was ultimately my choice because of its visually expressive shape and lines, which resembled natural hidden alphabets. It also had a serene yet depressing vibe that I wanted to convey in my font design.

fig 2.1.0 original image of withering lotus (week 2 - 30/09/2025)

Extraction

Here, I started tracing the lines and forms of the withered stems to extract possible letterforms. I focused on letters like W, I, L, T, S since their structures could naturally fit the curves of the lotus stems.

fig 2.1.1 chose image & extraction (week 2 - 30/09/2025)

fig 2.1.2 wrong extraction (week 2 - 30/09/2025)

My first extraction didn’t go very well — the letters looked too random and unbalanced. It didn’t fully reflect the natural flow that I wanted from the original lotus shapes.

fig 2.1.3 final extraction (week 3 - 07/10/2025)

On my second attempt, I tried to refine the structure and make the letterforms more consistent while keeping the organic, imperfect look. This version felt much more natural and readable.

Refinement Process

To improve my design, I studied an existing font called Maku, which also explores natural, flowing forms. It helped me understand how to balance the thickness of strokes and how to keep the organic look while still making the letters clear.

fig2.1.4 Reference Fonts - Maku (week3 - 07/10/2025)

Here’s a look at my refinement stages — from messy sketches to the final version. I tried to make each letter feel like it grew naturally from the same stem, keeping the uneven texture but making it more structured overall.

fig 2.1.5 refining process (week 3 - 07/10/2025)

Final Outcome

fig 2.1.6 image & extraction (week 3 - 07/10/2025)

fig 2.1.7 overall process (week 3 - 07/10/2025)

fig 2.1.8 extracted letterforms (week 3 - 07/10/2025)

fig 2.1.9 reference fonts (week 3 - 07/10/2025)

fig 2.2.0 final letterforms (week 3 - 07/10/2025)

fig2.2.1 Original extraction (top) and final letterform (bottom) comparison(week3 - 07/10/2025)

fig 2.2.2 final type & play submission (week 3 - 07/10/2025)

- Type & Play : Part 2 -

Poster

This is the background photo that inspired my type design. I wanted to keep a connection between the typography and its origin — the withered lotus itself.

fig 2.2.3 original image (week 3 - 07/10/2025)

My first poster layout didn’t look very balanced. The text blended into the background too much, and the message wasn’t clear enough.

fig 2.2.4 first attempt poster (week 3 - 07/10/2025)

In the final version, I improved the composition and contrast. The letters now stand out better while still blending with the mood of the image. The final poster gives a sense of quietness and transformation — representing the theme of “The Silence of What Once Bloomed.”

fig 2.2.5 final poster (week 3 - 07/10/2025)

Final Outcome

fig 2.2.6 final poster (JPEG) (week 3 - 07/10/2025)

fig 2.2.6 final poster (PDF) (week 3 - 07/10/2025)

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 FEEDBACK 

Week4

General Feedback: Mr. Vinod has provided guidance on completing the blog for Task 1. It is essential to adhere to the specified structure and proceed to begin Task 2.

Specific Feedback: The overall layout appears too sparse. The poster's information format is incorrect and requires revision.

Week3

General Feedback:When designing typefaces, structural consistency is essential—each angle must incorporate identical elements. Subsequently, you can use your custom typeface to design a poster, ensuring that all photographs are thematically relevant to the subject matter we've selected.

Specific feedback: Mr. Vinod informed me that the text extraction was flawed. The image possesses unique characteristics, necessitating improved extraction and adjustments to the text design. This will enhance the withered lotus effect and refine the font structure.

Week2

Mr. Vinod instructed us to update all Task 1 progress on our e-portfolio at once. He then presented the second task, which is creating letterforms out of nature materials. The 10 shown typefaces are just a reference — there are other comparable, or even neutral, typefaces that we might experiment with, too.

We were encouraged to look at the work of students earlier for a better understanding of typographic systems. He also clarified the difference between grid and modular systems, which necessitated that all the components should strictly remain within the modules for modular layout systems. We were advised on reading further on for the next exercise. 

Week 1

 It was our first week for this module when Mr. Vinod introduced it. He properly briefed us on what was about to happen and presented the first exercise, which is experimenting with eight different typographic systems.The first task was assigned this week, and we were informed that it’s due by Week 2.

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 REFLECTION 

Exercise 1 – The Eight Typographic Systems

    I came to a clearer understanding of the interrelation between order and creativity in typographic design over the course of these three weeks. I was able to explore a number of different approaches to the structuring of visual information after learning about the eight typographic systems, from the expressive freedom of the random and dilatational systems to the precision of the grid and modular systems. I came to consider typography as a systematic visual communication instead of a purely aesthetic decision since every system has its own rhythm, hierarchy, and balance. 

    Russian Constructivism's geometric audacity and jarring colors inspired me during the process.  Using these elements, I was able to create compositions that were both dynamic and ordered.  Balance between structure and energy was tricky to achieve, but it was also the most rewarding part of the exercise.  Compositional control and visual flow can also aid in the clear and expressive communication of a message, I also found.

Exercise 2 – Type & Play

    In the second exercise, I utilized the picture of a dying lotus to pull letterforms out so that I could explore typography in nature.  Since it was more focused on shape transformation and observation than on layout systems, this challenge differed greatly from the first.  Having to find natural shapes and then evolve them into usable type made me think outside the box for letter design.

    I designed a typeface that felt organic but remained readable by drawing inspiration from natural textures and simplifying the resulting forms.  I used the letterforms to create a poster concept that captured the essence of nature's beauty and decay by combining them with visual composition.  This exercise showed me that typography can be used to express narrative and emotion through form instead of words.

Overall

All other things being equal, both exercises enhanced my appreciation for typography as a balance between system and expression.  Whereas the second exercise encouraged experimentation and innovation, the first exercise enhanced my understanding of structure.  Together, they enabled me to have a greater appreciation of how type design can communicate emotion and order in visual narrative.

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 Further Reading 

fig 2.5 typography referenced

Reference: Haley, A., Poulin, R., Seddon, T., & Tselentis, J. (2012). Typography referenced: A comprehensive visual guide to the language, history, and practice of typography. Rockport Publishers.

    While reading the chapter on Letterform Anatomy (pp. 32–37) in Typography Referenced, I gained a renewed understanding of the relationship between type structure and visual language. Previously, I viewed typefaces purely as tools for typesetting. However, the book's detailed explanation of letter structure made me realize that every stroke, curve, and proportion embodies the designer's considerations for visual balance and legibility.

fig 2.6 diagram showing parts of letterform anatomy

    Key terms introduced in the book—such as baseline, x-height, ascender, and descender—revealed that letters aren't isolated entities but rely on these "invisible lines" to establish order and rhythm. The variation in x-height, in particular, directly impacts reading comfort and a typeface's personality. For instance, among sans-serif fonts, Helvetica's higher x-height lends it a modern, crisp feel, while Gill Sans' lower x-height imparts a gentler, more humanistic character. These subtle differences fundamentally shape the overall mood of a layout.

    Additionally, the chapter's analysis of serifs and stems left a deep impression. Serifs aren't merely ornamental; they serve as visual guides that make reading flow more naturally. I often overlooked these details during past typesetting exercises, but now I can sense how each letter's "skeletal structure" influences the breathing space of a layout.

    My greatest takeaway after reading this is that studying letterform anatomy isn't just about understanding shapes—it's about cultivating a designer's observational skills. Within each letter's outline lie traces of culture and craftsmanship. As a design student, this has prompted me to reflect on how future design practice should prioritize minute proportions, curves, and negative space, for these elements determine the warmth of visual communication.